TEDGlobal>Geneva
Elizabeth Lev: The unheard story of the Sistine Chapel
伊麗莎白勒芙: 西斯汀教堂前所未聞的故事
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西斯汀教堂是全球其中一座標誌性的建築物 - 不過，這教堂的底蘊，你大概很多都不知道。在這個精彩絕倫的演講，藝術史學者伊麗莎白 勒芙引領我們穿越這知名教堂的天花，理解米開朗基羅所描畫的傳統故事，如何超越了當代的宗教圖繪，綻放成為了曠世鉅作。在這位藝術家完成了其作品的五百年以後，西斯汀教堂彷彿化成了一面鏡子，殷切的着我們環顧四週並且詢問自己: 「我是誰，在偉大的人生舞台上，我在扮演著甚麼樣的角色?」
Elizabeth Lev - Art historian
Elizabeth Lev's experience studying and teaching art has led her to believe that when we encounter something beautiful, we are made vulnerable and opened to the truth. Full bio
Elizabeth Lev's experience studying and teaching art has led her to believe that when we encounter something beautiful, we are made vulnerable and opened to the truth. Full bio
Double-click the English transcript below to play the video.
00:12
Imagine you're in Rome,
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想像一下你身在羅馬
00:14
and you've made your way
to the Vatican Museums.
to the Vatican Museums.
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而你終於來到了
梵蒂岡的博物館
梵蒂岡的博物館
00:18
And you've been shuffling
down long corridors,
down long corridors,
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你走過了長走廊
00:21
past statues, frescoes,
lots and lots of stuff.
lots and lots of stuff.
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經過了雕像 壁畫 林林種種
00:26
You're heading towards the Sistine Chapel.
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你正向着西斯汀教堂
的方向前進
的方向前進
00:28
At last -- a long corridor,
a stair and a door.
a stair and a door.
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最後 —— 一條長廊 一堂樓梯
和一道門
和一道門
00:34
You're at the threshold
of the Sistine Chapel.
of the Sistine Chapel.
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終於來到了西斯汀教堂
的核心處
的核心處
00:37
So what are you expecting?
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你在期待著什麼呢
00:38
Soaring domes? Choirs of angels?
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飽滿的圓頂
還是天使合唱團
還是天使合唱團
00:41
We don't really have any of that there.
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其實那裡並沒有這些
00:44
Instead, you may ask yourself,
what do we have?
what do we have?
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那好 你可能會問自己
那哪裡有什麼呢
那哪裡有什麼呢
00:48
Well, curtains up on the Sistine Chapel.
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好吧 西斯汀教堂 掀起你的帳幕吧
00:50
And I mean literally, you're surrounded
by painted curtains,
by painted curtains,
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我的意思是在字面上
你確是被繪上了圖畫的帳幕包圍着
你確是被繪上了圖畫的帳幕包圍着
00:53
the original decoration of this chapel.
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這是這座教堂原本的裝飾
00:56
Churches used tapestries not just
to keep out cold during long masses,
to keep out cold during long masses,
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教堂採用了掛毯 不單只是為了
在舉行彌撒時可以保暖
在舉行彌撒時可以保暖
01:00
but as a way to represent
the great theater of life.
the great theater of life.
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同時也代表著
偉大的人生舞台
偉大的人生舞台
01:04
The human drama in which each one of us
plays a part is a great story,
plays a part is a great story,
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我們每一位都有參與的人生舞台劇
是一個偉大的故事
是一個偉大的故事
01:09
a story that encompasses the whole world
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一個涵蓋了整個世界的故事
01:12
and that came to unfold
in the three stages
in the three stages
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分開了三個階段去演繹
01:15
of the painting in the Sistine Chapel.
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成就了西斯汀教堂的圖畫
01:18
Now, this building started out
as a space for a small group
as a space for a small group
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這座建築物當初開始的時候
是為一小部分人提供了空間
是為一小部分人提供了空間
01:21
of wealthy, educated Christian priests.
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多是富裕而有學識的神父們
01:24
They prayed there.
They elected their pope there.
They elected their pope there.
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他們在那裡禱告
他們在那裡推選他們的教皇
他們在那裡推選他們的教皇
五百年前
01:27
Five hundred years ago,
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那是一個擁有無上榮譽的終極神父洞窟
01:28
it was the ultimate
ecclesiastical man cave.
ecclesiastical man cave.
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所以你大概會問 那這個教堂
是如何做到每年能吸引
是如何做到每年能吸引
01:31
So, you may ask, how can it be
that today it attracts and delights
that today it attracts and delights
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01:37
five million people a year,
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並將歡欣帶給來自完全不同背景的
01:40
from all different backgrounds?
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五百萬人的呢
01:42
Because in that compressed space,
there was a creative explosion,
there was a creative explosion,
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因為在那壓縮了的空間裡
存在了一種創意大爆發
存在了一種創意大爆發
01:46
ignited by the electric excitement
of new geopolitical frontiers,
of new geopolitical frontiers,
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新地緣政治的前沿變化
帶動而來的強烈刺激觸發了它
帶動而來的強烈刺激觸發了它
01:51
which set on fire the ancient
missionary tradition of the Church
missionary tradition of the Church
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並點燃激發了教會的傳教傳統
同時也創造了歷史上
最偉大的藝術品之一
最偉大的藝術品之一
01:56
and produced one of the greatest
works of art in history.
works of art in history.
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這個發展如同
是一個偉大的進化
是一個偉大的進化
02:00
Now, this development took place
as a great evolution,
as a great evolution,
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02:04
moving from the beginning of a few elite,
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從開始的少數精英
到最後能夠
02:07
and eventually able to speak
to audiences of people
to audiences of people
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與來自全球的
所有群眾對話
所有群眾對話
02:10
that come from all over the world.
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這個進化過程 歷經了三個階段
02:13
This evolution took place in three stages,
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02:16
each one linked
to a historical circumstance.
to a historical circumstance.
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每一個階段
都關連到一個歷史場境
都關連到一個歷史場境
02:19
The first one was rather limited in scope.
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第一個在範疇上比較狹窄
02:21
It reflected the rather
parochial perspective.
parochial perspective.
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它反映了相當是教會的角度
第二個階段發生的時候
人類整個世界觀都已經有了戲劇性的改變
人類整個世界觀都已經有了戲劇性的改變
02:24
The second one took place after
worldviews were dramatically altered
worldviews were dramatically altered
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02:28
after Columbus's historical voyage;
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也就是在哥倫布的
歷史性旅程之後;
歷史性旅程之後;
而第三個階段
02:31
and the third,
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則發生在如火如荼的大航海時代
02:32
when the Age of Discovery
was well under way
was well under way
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02:35
and the Church rose to the challenge
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而教會也正在面臨
走向全球的挑戰。
02:38
of going global.
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這座教堂原來的裝飾
反映了一個比較細小的世界
反映了一個比較細小的世界
02:40
The original decoration of this church
reflected a smaller world.
reflected a smaller world.
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那些擁擠的畫面
02:44
There were busy scenes
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訴說著耶穌和摩西的生平事蹟
02:45
that told the stories of the lives
of Jesus and Moses,
of Jesus and Moses,
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02:49
reflecting the development
of the Jewish and Christian people.
of the Jewish and Christian people.
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反映著猶太民族和基督教徒的發展
02:53
The man who commissioned this,
Pope Sixtus IV,
Pope Sixtus IV,
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定下這個項目的人 教皇聖思道四世
召集了佛羅倫斯最好的藝術家
02:56
assembled a dream team of Florentine art,
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02:59
including men like Sandro Botticelli
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成員中包括桑德羅波堤切利
03:02
and the man who would become
Michelangelo's future painting teacher,
Michelangelo's future painting teacher,
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還有後來會成為了
米開朗基羅繪畫老師的
米開朗基羅繪畫老師的
基爾蘭達約
03:05
Ghirlandaio.
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這幾位為牆壁舖上了
帶狀裝飾的純色彩
帶狀裝飾的純色彩
03:07
These men, they blanketed the walls
with a frieze of pure color,
with a frieze of pure color,
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而在這些故事中 你會看到熟悉的場景
03:12
and in these stories you'll notice
familiar landscapes,
familiar landscapes,
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03:16
the artists using Roman monuments
or a Tuscan landscape
or a Tuscan landscape
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藝術家們會用上
羅馬紀念碑或是托斯卡尼的街景
羅馬紀念碑或是托斯卡尼的街景
03:20
to render a faraway story,
something much more familiar.
something much more familiar.
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把一個久遠的故事 聯繫到
比較熟悉的一些東西
比較熟悉的一些東西
03:23
With the addition of images
of the Pope's friends and family,
of the Pope's friends and family,
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再加上一些圖像比如
教宗的朋友們和家庭
教宗的朋友們和家庭
這是一個小庭的完美裝飾
03:27
this was a perfect decoration
for a small court
for a small court
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只限於歐洲大陸
03:29
limited to the European continent.
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但是在1492年 人們發現了新大陸
03:32
But in 1492, the New World was discovered,
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03:37
horizons were expanding,
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各方面的範疇都在拓展
03:39
and this little 133 by 46-foot
microcosm had to expand as well.
microcosm had to expand as well.
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所以這個133乘以46呎的
微觀宇宙也得跟著拓展
微觀宇宙也得跟著拓展
它也的確跟上了時代的步伐
03:45
And it did,
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這得歸功於一位創作天才
03:46
thanks to a creative genius,
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創造出了高瞻遠矚的偉大故事。
03:48
a visionary and an awesome story.
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03:52
Now, the creative genius
was Michelangelo Buonarroti,
was Michelangelo Buonarroti,
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那位創作天才是
米開朗基羅波納羅蒂
米開朗基羅波納羅蒂
當他被邀約去裝飾12,000平方呎的天花時
正值33歲
正值33歲
03:54
33 years old when he was tapped
to decorate 12,000 square feet of ceiling,
to decorate 12,000 square feet of ceiling,
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03:59
and the deck was stacked against him --
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而整體情況並不利於他
他受訓於繪畫 但卻跑去了鑽研雕塑
04:01
he had trained in painting
but had left to pursue sculpture.
but had left to pursue sculpture.
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在佛羅倫斯有許多客戶對他很不滿意
因為他留下了一批
因為他留下了一批
04:04
There were angry patrons in Florence
because he had left a stack
because he had left a stack
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未完成的定製項目
04:07
of incomplete commissions,
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04:09
lured to Rome by the prospect
of a great sculptural project,
of a great sculptural project,
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為着一個偉大的雕塑項目
而去到羅馬
而去到羅馬
04:12
and that project had fallen through.
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但該項目卻流產了
04:15
And he had been left with a commission
to paint 12 apostles
to paint 12 apostles
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剩下的一個定製項目 就是去畫12位門徒
04:18
against a decorative background
in the Sistine Chapel ceiling,
in the Sistine Chapel ceiling,
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就在西斯汀教堂
那個有裝飾的背景天花
那個有裝飾的背景天花
04:21
which would look like
every other ceiling in Italy.
every other ceiling in Italy.
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那個在意大利 到哪裡
看起來都一樣的天花板
看起來都一樣的天花板
但天才自能克服挑戰
04:25
But genius rose to the challenge.
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04:27
In an age when a man dared
to sail across the Atlantic Ocean,
to sail across the Atlantic Ocean,
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在那個年代 有人敢於橫越大西洋
04:30
Michelangelo dared to chart
new artistic waters.
new artistic waters.
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米開朗基羅就敢於
藝壇上開天闢地
藝壇上開天闢地
他 同樣的 也會訴說一個故事
04:35
He, too, would tell a story --
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04:37
no Apostles -- but a story
of great beginnings,
of great beginnings,
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沒有門徒 但一個偉大的
磐古初開故事
磐古初開故事
04:40
the story of Genesis.
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創世紀的故事
04:43
Not really an easy sell,
stories on a ceiling.
stories on a ceiling.
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要想把故事畫到天花板上
並非易事
並非易事
04:46
How would you be able to read
a busy scene from 62 feet below?
a busy scene from 62 feet below?
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在距離天花壁62呎的地面，
有如何讓人能夠細閱這樣擁擠的畫面？
有如何讓人能夠細閱這樣擁擠的畫面？
04:50
The painting technique that had been
handed on for 200 years
handed on for 200 years
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佛羅倫斯畫室
傳授了二百年的繪畫技巧
傳授了二百年的繪畫技巧
並不足以應付這類型的故事
04:53
in Florentine studios was not equipped
for this kind of a narrative.
for this kind of a narrative.
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但米開朗基羅
其實並不真的是一位畫家
其實並不真的是一位畫家
04:57
But Michelangelo wasn't really a painter,
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05:00
and so he played to his strengths.
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所以他發揮自己的所長
05:02
Instead of being accustomed
to filling space with busyness,
to filling space with busyness,
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他並沒有隨俗的就把空間填滿
05:06
he took a hammer and chisel
and hacked away at a piece of marble
and hacked away at a piece of marble
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他反而拿起了鎚子和鏨刀
雕琢一塊大理石
雕琢一塊大理石
釋放了其中蘊藏著的人物
05:10
to reveal the figure within.
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05:12
Michelangelo was an essentialist;
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米開朗基羅是一位本質主義者
05:14
he would tell his story
in massive, dynamic bodies.
in massive, dynamic bodies.
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他透過宏偉而互動的軀體講述故事
05:19
This plan was embraced
by the larger-than-life Pope Julius II,
by the larger-than-life Pope Julius II,
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這個計劃得到了
教皇尤利烏斯二世的支持
教皇尤利烏斯二世的支持
他是一位傳奇人物
無懼於米開朗基羅這樣自負的天才
無懼於米開朗基羅這樣自負的天才
05:24
a man who was unafraid
of Michelangelo's brazen genius.
of Michelangelo's brazen genius.
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05:27
He was nephew to Pope Sixtus IV,
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他是教皇聖思道四世的外甥
而他亦沉醉於藝術達三十年
明瞭其中的力量
明瞭其中的力量
05:29
and he had been steeped in art
for 30 years and he knew its power.
for 30 years and he knew its power.
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這位人物在歷史上
留下的名號是 戰鬥教皇
留下的名號是 戰鬥教皇
05:33
And history has handed down the moniker
of the Warrior Pope,
of the Warrior Pope,
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05:36
but this man's legacy to the Vatican --
it wasn't fortresses and artillery,
it wasn't fortresses and artillery,
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但對於梵諦岡來說
這位人物所留芳的 不是堡壘和大砲
這位人物所留芳的 不是堡壘和大砲
05:40
it was art.
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是藝術
他遺留給我們的是拉裴爾房間
是西斯汀教堂
是西斯汀教堂
05:42
He left us the Raphael Rooms,
the Sistine Chapel.
the Sistine Chapel.
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他遺留了聖彼得大教堂
05:44
He left St. Peter's Basilica
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05:46
as well as an extraordinary collection
of Greco-Roman sculptures --
of Greco-Roman sculptures --
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還有古希臘-古羅馬雕塑的非凡收藏
05:52
decidedly un-Christian works
that would become the seedbed
that would become the seedbed
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這些非基督教的作品
很明確地孕育了
很明確地孕育了
全球首間現代博物館
梵諦岡博物館
梵諦岡博物館
05:56
of the world's first modern museum,
the Vatican Museums.
the Vatican Museums.
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06:00
Julius was a man
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尤利烏斯是那種
能預見到梵諦岡可以透過恢宏和美
06:02
who envisioned a Vatican
that would be eternally relevant
that would be eternally relevant
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06:06
through grandeur and through beauty,
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永恒地矗立的人
06:08
and he was right.
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他是對的
06:09
The encounter between these two giants,
Michelangelo and Julius II,
Michelangelo and Julius II,
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這兩位偉人的相遇相知
米開朗基羅和尤利烏斯二世
米開朗基羅和尤利烏斯二世
06:14
that's what gave us the Sistine Chapel.
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為我們留下了西斯汀教堂
米開朗基羅
非常投入於這個項目
非常投入於這個項目
06:17
Michelangelo was so committed
to this project,
to this project,
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06:20
that he succeeded in getting the job done
in three and a half years,
in three and a half years,
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在三年半以內
他已經成功地完成了任務
他已經成功地完成了任務
06:24
using a skeleton crew and spending
most of the time, hours on end,
most of the time, hours on end,
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採用節流的隊伍
投進大量時間
投進大量時間
06:29
reaching up above his head
to paint the stories on the ceiling.
to paint the stories on the ceiling.
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在他頭頂上的天花壁繪畫
讓我們來看看這個天花板
06:33
So let's look at this ceiling
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06:35
and see storytelling gone global.
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和走向世界的故事
06:38
No more familiar artistic references
to the world around you.
to the world around you.
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身邊再沒有熟悉
的藝術資料可供參考
的藝術資料可供參考
06:42
There's just space
and structure and energy;
and structure and energy;
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那裡有的只是空間、架構和能量;
06:47
a monumental painted framework
which opens onto nine panels,
which opens onto nine panels,
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一幅不朽的繪畫架構
橫亙九個板塊
橫亙九個板塊
06:52
more driven by sculptural form
than painterly color.
than painterly color.
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更多由雕塑形式所主導
而不只是繪畫顏色
而不只是繪畫顏色
06:56
And we stand in the far end
by the entrance,
by the entrance,
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我們站在入口的最遠處
遠離神壇及遠離只留給神職人員的
大門緊鎖的密室
大門緊鎖的密室
06:59
far from the altar and from the gated
enclosure intended for the clergy
enclosure intended for the clergy
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07:03
and we peer into the distance,
looking for a beginning.
looking for a beginning.
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而我們縱目看進去 尋覓一個開始
不管是從科學的查考
或是從聖經上的傳統
或是從聖經上的傳統
07:09
And whether in scientific inquiry
or in biblical tradition,
or in biblical tradition,
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07:13
we think in terms of a primal spark.
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我們期待一種原始的火花
07:16
Michelangelo gave us an initial energy
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米開朗基羅給予我們
一種初始的能量
一種初始的能量
07:18
when he gave us the separation
of light and dark,
of light and dark,
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當他為我們分開了光和影
07:21
a churning figure blurry in the distance,
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一位翻騰的人物 在距離中顯得糢糊
被壓縮進一個狹窄的空間
07:24
compressed into a tight space.
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下一位人物顯得大一些
07:27
The next figure looms larger,
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07:29
and you see a figure hurtling
from one side to the next.
from one side to the next.
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而你會看到一位人物
從一處飛馳往下一處
從一處飛馳往下一處
07:33
He leaves in his wake
the sun, the moon, vegetation.
the sun, the moon, vegetation.
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祂在醒著的時候
創造了太陽 月亮 植物
創造了太陽 月亮 植物
米開朗基羅的重點
並不在於被創造的事物
並不在於被創造的事物
07:38
Michelangelo didn't focus
on the stuff that was being created,
on the stuff that was being created,
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07:42
unlike all the other artists.
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有別於所有其他的藝術家
07:44
He focused on the act of creation.
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他聚焦於創造這行為
然後所有的動態都戛然而止
如同在詩歌裡的休止
如同在詩歌裡的休止
07:47
And then the movement stops,
like a caesura in poetry
like a caesura in poetry
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07:52
and the creator hovers.
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而創造者在徘徊
07:53
So what's he doing?
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那祂在幹嗎哪
07:54
Is he creating land? Is he creating sea?
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祂在創造大地 祂在創造大海
07:57
Or is he looking back over his handiwork,
the universe and his treasures,
the universe and his treasures,
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還是祂在顧盼著自己的創作
整個宇宙和他的珍寶
整個宇宙和他的珍寶
就像米開朗基羅那樣
08:02
just like Michelangelo must have,
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顧盼著自己在天花壁上的作品
08:04
looking back over his work in the ceiling
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08:06
and proclaiming, "It is good."
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並且宣稱 幹得好
這樣下來整個場景已擬定
08:10
So now the scene is set,
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08:12
and you get to the culmination
of creation, which is man.
of creation, which is man.
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然後你來到了創造的高潮部分
創造人類
創造人類
亞當躍進了眼裏 在深暗的背景上
跳入一個輕巧的身軀
跳入一個輕巧的身軀
08:16
Adam leaps to the eye, a light figure
against a dark background.
against a dark background.
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08:20
But looking closer,
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但看得近一點
08:22
that leg is pretty languid on the ground,
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他的腿部痠軟地落在地上
08:25
the arm is heavy on the knee.
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手臂負苛在膝蓋上
亞當缺乏了
08:27
Adam lacks that interior spark
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那種會促使他偉大
由內綻放出來的靈光
由內綻放出來的靈光
08:31
that will impel him to greatness.
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08:33
That spark is about to be conferred
by the creator in that finger,
by the creator in that finger,
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那靈光將會從創造者
的那手指授賜
的那手指授賜
就在亞當的手一毫米之距
08:38
which is one millimeter
from the hand of Adam.
from the hand of Adam.
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08:40
It puts us at the edge of our seats,
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這吸引了我們的專注
08:42
because we're one moment
from that contact,
from that contact,
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因為我們就在
那接觸的頃刻之間
那接觸的頃刻之間
08:45
through which that man
will discover his purpose,
will discover his purpose,
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在那一刻
人類會發現自己的意義
人類會發現自己的意義
躍升到一個地位 成為了創造之顛
08:48
leap up and take his place
at the pinnacle of creation.
at the pinnacle of creation.
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08:51
And then Michelangelo threw a curveball.
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米開朗基羅再拋出了一個弧線球
誰在另一邊的手臂
08:55
Who is in that other arm?
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夏娃 第一位女性
08:57
Eve, first woman.
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不 她不是事後想出來的
她是創造計畫的一部份
她是創造計畫的一部份
08:59
No, she's not an afterthought.
She's part of the plan.
She's part of the plan.
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她從來都已經在祂心中。
09:02
She's always been in his mind.
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看看她 和上帝很親厚
她的手繞著祂的手臂
她的手繞著祂的手臂
09:04
Look at her, so intimate with God
that her hand curls around his arm.
that her hand curls around his arm.
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09:09
And for me, an American art historian
from the 21st century,
from the 21st century,
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對我來說 作為來自21世紀
美國的藝術歷史學者
美國的藝術歷史學者
09:14
this was the moment
that the painting spoke to me.
that the painting spoke to me.
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這一刻 這幅圖畫最感動我
09:17
Because I realized that this
representation of the human drama
representation of the human drama
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因為我體會到
在這個具代表性的人生戲劇
在這個具代表性的人生戲劇
09:21
was always about men and women --
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總是述說著男性和女性
09:23
so much so, that the dead center,
the heart of the ceiling,
the heart of the ceiling,
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最最重要的 夏娃在教堂的中央
在天花壁上的核心位置
在天花壁上的核心位置
主角其實是女性 而不是亞當
09:27
is the creation of woman, not Adam.
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09:30
And the fact is, that when you see them
together in the Garden of Eden,
together in the Garden of Eden,
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事實上 當你看到他倆在伊甸園
09:34
they fall together
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他倆雙雙墮落
09:35
and together their proud posture
turns into folded shame.
turns into folded shame.
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他倆原來驕傲的姿勢
雙雙轉化為一種收納起的羞愧
雙雙轉化為一種收納起的羞愧
你現在來到了天花壁上
最關鍵的交滙處
最關鍵的交滙處
09:40
You are at critical juncture
now in the ceiling.
now in the ceiling.
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09:43
You are exactly at the point
where you and I can go
where you and I can go
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你正正處於一個位置
你和我在這座教堂裡
你和我在這座教堂裡
09:46
no further into the church.
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都需要止步的地方
09:47
The gated enclosure keeps us
out of the inner sanctum,
out of the inner sanctum,
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那關上了閘的密室
讓我們無從再走進去內裡的聖所
讓我們無從再走進去內裡的聖所
09:51
and we are cast out
much like Adam and Eve.
much like Adam and Eve.
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如同亞當和夏娃一樣 我們被摒開了
09:53
The remaining scenes in the ceiling,
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天花壁上其餘的場景
09:55
they mirror the crowded chaos
of the world around us.
of the world around us.
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倒映了我們四週那種擁擠的混亂
09:58
You have Noah and his Ark and the flood.
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能看到挪亞和他的方舟和洪水
挪亞 他正在獻祭
並和上帝訂立盟約
並和上帝訂立盟約
10:00
You have Noah. He's making a sacrifice
and a covenant with God.
and a covenant with God.
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10:04
Maybe he's the savior.
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可能他是那位救世者
10:06
Oh, but no, Noah is the one
who grew grapes, invented wine,
who grew grapes, invented wine,
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噢 但不 挪亞種植葡萄 發明了酒
10:09
got drunk and passed out
naked in his barn.
naked in his barn.
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喝醉了後還赤裸裸地
休克在自己的榖場
休克在自己的榖場
那是一個奇異的方式去設計天花
10:12
It is a curious way to design the ceiling,
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從上帝創造萬物開始
10:14
now starting out with God creating life,
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而以一個宿醉在榖場的男人作結
10:16
ending up with some guy
blind drunk in a barn.
blind drunk in a barn.
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10:19
And so, compared with Adam,
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所以 如果與亞當比起來
你大概會覺得米開朗基羅在開我們玩笑
10:21
you might think Michelangelo
is making fun of us.
is making fun of us.
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10:24
But he's about to dispel the gloom
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但是他馬上就驅祛這愁緒
10:26
by using those bright colors
right underneath Noah:
right underneath Noah:
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在挪亞的下方 借用了絢爛的顏色
10:30
emerald, topaz, scarlet
on the prophet Zechariah.
on the prophet Zechariah.
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翠綠 黃玉 斐紅
描繪出先知撒迦利亞
描繪出先知撒迦利亞
10:33
Zechariah foresees a light
coming from the east,
coming from the east,
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撒迦利亞預見了從東邊來的一道光
10:36
and we are turned at this juncture
to a new destination,
to a new destination,
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就在這個交滙點
我們就被導往新的目的地
我們就被導往新的目的地
10:40
with sibyls and prophets
who will lead us on a parade.
who will lead us on a parade.
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女神喻者和先知們
帶領我們前往參與遊行隊伍
帶領我們前往參與遊行隊伍
10:44
You have the heroes and heroines
who make safe the way,
who make safe the way,
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有英雄和英雌為你保駕護航
10:47
and we follow the mothers and fathers.
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我們跟隨着先父先母們
他們就是人類社會的原動力 向前推進
10:50
They are the motors of this great
human engine, driving it forward.
human engine, driving it forward.
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現在我們來到了天花的拱心石
10:54
And now we're at the keystone
of the ceiling,
of the ceiling,
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整個天花壁的綜合之顛
10:57
the culmination of the whole thing,
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10:59
with a figure that looks like
he's about to fall out of his space
he's about to fall out of his space
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有一位人物彷彿就要
離開他自己的空間
離開他自己的空間
11:02
into our space,
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墮進來我們的世界
11:04
encroaching our space.
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侵進來我們的世界
11:05
This is the most important juncture.
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這是一個最關鍵的交滙點
過去與現在相遇
11:07
Past meets present.
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這位人物 約拿 在鯨魚的肚腹內三天
11:09
This figure, Jonah, who spent
three days in the belly of the whale,
three days in the belly of the whale,
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11:13
for the Christians, is the symbol
of the renewal of humanity
of the renewal of humanity
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對於基督徒來說 象徵著人類的重生
透過耶穌基督的犧牲
11:15
through Jesus' sacrifice,
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但對於來自五湖四海的博物館到訪者
11:17
but for the multitudes
of visitors to that museum
of visitors to that museum
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11:19
from all faiths who visit there every day,
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對於每天都到那裡去的信徒
11:22
he is the moment the distant past
encounters and meets immediate reality.
encounters and meets immediate reality.
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他就是久遠的過去
和眼前當下相遇的刹那
和眼前當下相遇的刹那
11:30
All of this brings us to the yawning
archway of the altar wall,
archway of the altar wall,
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所有這些把我們帶到了
神壇牆壁上的拱廊
神壇牆壁上的拱廊
11:34
where we see Michelangelo's Last Judgment,
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我們看到了米開朗基羅的
最後的審判
最後的審判
在1534年繪畫
那時候世界又再一次改變了
那時候世界又再一次改變了
11:37
painted in 1534 after the world
had changed again.
had changed again.
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宗教改革削弱了教會
11:41
The Reformation had splintered the Church,
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因為鄂圖曼帝國 伊斯蘭成了家傳户曉
11:43
the Ottoman Empire had made
Islam a household word
Islam a household word
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11:46
and Magellan had found a route
into the Pacific Ocean.
into the Pacific Ocean.
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3494
而麥哲倫也找到了前往太平洋的航道
一位59歲的藝術家
最遠也只到過威尼斯
最遠也只到過威尼斯
11:49
How is a 59-year-old artist who has never
been any further than Venice
been any further than Venice
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如何和這個新世界溝通呢
11:54
going to speak to this new world?
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11:56
Michelangelo chose to paint destiny,
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米開朗基羅選擇了描繪命運
11:59
that universal desire,
224
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1820
整個宇宙都期盼
12:01
common to all of us,
225
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1620
我們人人也一樣
12:03
to leave a legacy of excellence.
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遺傳下來優越的傳奇
12:06
Told in terms of the Christian vision
of the Last Judgment,
of the Last Judgment,
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從基督教角度而銓釋的
最後的審判
最後的審判
世界的終極
12:09
the end of the world,
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米開朗基羅給予你一系列的人物
12:10
Michelangelo gave you a series of figures
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12:13
who are wearing these
strikingly beautiful bodies.
strikingly beautiful bodies.
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他們都擁有極佳的肉體
12:17
They have no more covers,
no more portraits
no more portraits
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他們都沒有遮蓋物 沒有畫像
除了極少數
12:19
except for a couple.
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那是由眾多的身軀組成的
12:21
It's a composition only out of bodies,
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391副身軀 通通沒有一樣的
12:23
391, no two alike,
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就像我們每一位
都是獨一無二的人一樣
都是獨一無二的人一樣
12:27
unique like each and every one of us.
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他們從下面的角落開始 脫離地面
12:29
They start in the lower corner,
breaking away from the ground,
breaking away from the ground,
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掙扎著嘗試要奮起
12:33
struggling and trying to rise.
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12:36
Those who have risen
reach back to help others,
reach back to help others,
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那些已經成功起來的
會回去幫助其他人
會回去幫助其他人
12:38
and in one amazing vignette,
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1837
在一幅奇妙的小插圖裡
12:40
you have a black man and a white man
pulled up together
pulled up together
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你會看到一位黑人和一位白人並肩相扶
12:43
in an incredible vision of human unity
241
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一種人類大融和的偉大願景
12:46
in this new world.
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在這個新世界
12:47
The lion's share of the space
goes to the winner's circle.
goes to the winner's circle.
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絶大部分的空間歸屬於
勝利者的圈子
勝利者的圈子
你會看到男性和女性
都如同運動健兒一樣裸體
都如同運動健兒一樣裸體
12:51
There you find men and women
completely nude like athletes.
completely nude like athletes.
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12:56
They are the ones
who have overcome adversity,
who have overcome adversity,
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他們都戰勝了逆境
12:58
and Michelangelo's vision
of people who combat adversity,
of people who combat adversity,
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在米開朗基羅的願景裡
戰勝了逆境的人們
戰勝了逆境的人們
克服了障礙
13:02
overcome obstacles --
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13:03
they're just like athletes.
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他們就如同運動健兒一樣
所以你會看到在這非同尋常的焦點上
13:05
So you have men and women
flexing and posing
flexing and posing
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無論男女 都在舒展筋骨
13:09
in this extraordinary spotlight.
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13:11
Presiding over this assembly is Jesus,
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主持這集會的是耶穌
最初是十字架上的受難者
13:14
first a suffering man on the cross,
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13:16
now a glorious ruler in Heaven.
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現在是天堂的榮耀統治者
如同米開朗基羅在
他的作品裡証實的一樣
他的作品裡証實的一樣
13:18
And as Michelangelo
proved in his painting,
proved in his painting,
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苦難 挫折和阻礙
13:21
hardship, setbacks and obstacles,
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它們並沒有限制了優越
而是鍛造出了優越
而是鍛造出了優越
13:24
they don't limit excellence,
they forge it.
they forge it.
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13:28
Now, this does lead us to one odd thing.
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現在 這其實也讓我們
看到一件滿蹩扭的事，
看到一件滿蹩扭的事，
13:30
This is the Pope's private chapel,
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這是教皇的私人教堂
13:32
and the best way you can describe that
is indeed a stew of nudes.
is indeed a stew of nudes.
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而這裡用最好的方式來描述
也其實是一堆裸體
也其實是一堆裸體
但米開朗基羅只是想採用
最佳的藝術語言
最佳的藝術語言
13:35
But Michelangelo was trying to use
only the best artistic language,
only the best artistic language,
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13:39
the most universal artistic language
he could think of:
he could think of:
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他能夠想到的
最普遍通用的藝術語言
最普遍通用的藝術語言
13:42
that of the human body.
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就是人體
13:44
And so instead of the way of showing
virtue such as fortitude or self-mastery,
virtue such as fortitude or self-mastery,
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所以他並沒有用上一般的方法
去表達美德 例如堅毅和自主
去表達美德 例如堅毅和自主
13:49
he borrowed from Julius II's
wonderful collection of sculptures
wonderful collection of sculptures
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他反而從尤利烏斯二世的
絶佳收藏的雕塑品借鏡
絶佳收藏的雕塑品借鏡
13:54
in order to show inner strength
as external power.
as external power.
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去呈現出由內至外的
堅強和力量
堅強和力量
當代曾有評說
13:59
Now, one contemporary did write
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14:02
that the chapel was too beautiful
to not cause controversy.
to not cause controversy.
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這樣漂亮的教堂必然會引起爭議
也確實是這樣
14:06
And so it did.
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14:08
Michelangelo soon found
that thanks to the printing press,
that thanks to the printing press,
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米開朗基羅很快就發現
因為媒體的關係
因為媒體的關係
14:11
complaints about the nudity
spread all over the place,
spread all over the place,
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有關於裸體的投訴無處不在
14:14
and soon his masterpiece of human drama
was labeled pornography,
was labeled pornography,
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不久之後 他的人類戲劇鉅作
被標籤為色情
被標籤為色情
14:19
at which point he added
two more portraits,
two more portraits,
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在那個時候 他加上了兩個人的畫像
14:21
one of the man who criticized him,
a papal courtier,
a papal courtier,
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一個是抨擊他的那人 是教皇的助手
14:23
and the other one of himself
as a dried up husk, no athlete,
as a dried up husk, no athlete,
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另外一個是他自己 扮成了乾涸的一副皮囊
而不是運動健兒
而不是運動健兒
垂在一位久經辛酸的烈士手上
14:27
in the hands of a long-suffering martyr.
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14:30
The year he died he saw
several of these figures covered over,
several of these figures covered over,
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在他去世的那年
他目睹有幾位畫中的人物都披上了遮蓋物
他目睹有幾位畫中的人物都披上了遮蓋物
14:34
a triumph for trivial distractions
over his great exhortation to glory.
over his great exhortation to glory.
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微不足道的一些打岔
鳴勝了他偉大矢志的的榮耀
鳴勝了他偉大矢志的的榮耀
此時此地
14:40
And so now we stand
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14:41
in the here and now.
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我們就在這裡
14:43
We are caught in that space
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我們都被擄在這個空間
在始初和終極之間
14:46
between beginnings and endings,
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14:48
in the great, huge totality
of the human experience.
of the human experience.
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遊刃於偉大而恢宏全面的
人類體驗
人類體驗
14:52
The Sistine Chapel forces us
to look around as if it were a mirror.
to look around as if it were a mirror.
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西斯汀教堂好像一面鏡子
殷切的着我們環顧四週
殷切的着我們環顧四週
在這幅圖畫裡 我是誰
14:56
Who am I in this picture?
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14:57
Am I one of the crowd?
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我是擁擠人群裡的一員
14:59
Am I the drunk guy?
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我是那個醉漢嗎
15:00
Am I the athlete?
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我是運動健兒嗎
15:02
And as we leave this haven
of uplifting beauty,
of uplifting beauty,
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當我們離開了這處
愈形美麗的避難所
愈形美麗的避難所
15:04
we are inspired to ask ourselves
life's biggest questions:
life's biggest questions:
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我們都得到了啟發 並且詢問自己
人生中最大的疑問
人生中最大的疑問
15:08
Who am I, and what role do I play
in this great theater of life?
in this great theater of life?
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我是誰
在偉大的人生舞台上 我在扮演著甚麼樣的角色?
在偉大的人生舞台上 我在扮演著甚麼樣的角色?
謝謝
15:13
Thank you.
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15:14
(Applause)
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(掌聲)
15:18
Bruno Giussani: Elizabeth Lev, thank you.
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布魯諾吉薩尼: 伊麗莎白勒芙 謝謝
15:21
Elizabeth, you mentioned
this whole issue of pornography,
this whole issue of pornography,
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伊麗莎白 妳提述到色情
成為了一個大難題
成為了一個大難題
15:25
too many nudes and too many
daily life scenes and improper things
daily life scenes and improper things
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在當時那一個年代的眾人眼裏
15:30
in the eyes of the time.
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太多的裸體和太多的日常生活場景
是不恰當的
是不恰當的
15:32
But actually the story is bigger.
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但其實整個故事牽扯到更廣
15:34
It's not just touching up
and covering up some of the figures.
and covering up some of the figures.
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那不只是把一些人物補上和披上遮蓋物
這個藝術作品還幾乎被毁掉
就因為所謂的“色情”
就因為所謂的“色情”
15:37
This work of art was almost
destroyed because of that.
destroyed because of that.
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伊麗莎白勒芙：最後的審判
所帶來的影響非常巨大。
所帶來的影響非常巨大。
15:40
Elizabeth Lev: The effect
of the Last Judgment was enormous.
of the Last Judgment was enormous.
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媒體矢志每一個人都要看到它
15:43
The printing press made sure
that everybody saw it.
that everybody saw it.
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15:46
And so, this wasn't something
that happened within a couple of weeks.
that happened within a couple of weeks.
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這樣下來 那不只是發生在
短短數週以內的事
短短數週以內的事
而是發生了超逾二十年
15:49
It was something that happened
over the space of 20 years
over the space of 20 years
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15:54
of editorials and complaints,
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包括各類型的社論和投訴
15:56
saying to the Church,
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向西斯汀教堂表示
15:57
"You can't possibly tell us
how to live our lives.
how to live our lives.
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"你有什麼權利指揮
我們的生活
我們的生活
你連自己教皇的教堂
有色情圖畫都沒看到嗎？"
有色情圖畫都沒看到嗎？"
15:59
Did you notice you have
pornography in the Pope's chapel?"
pornography in the Pope's chapel?"
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16:03
And so after complaints and insistence
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因為無數的投訴和堅持
致力於要毀去了這作品
16:05
of trying to get this work destroyed,
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最後在米開朗基羅去世的那年
16:08
it was finally the year
that Michelangelo died
that Michelangelo died
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16:10
that the Church finally
found a compromise,
found a compromise,
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2081
西斯汀教堂最後找到了
一個妥協的方式
一個妥協的方式
16:12
a way to save the painting,
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去保存這幅圖畫，
那就是加上了
額外的三十個覆蓋
額外的三十個覆蓋
16:14
and that was in putting up
these extra 30 covers,
these extra 30 covers,
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16:17
and that happens to be
the origin of fig-leafing.
the origin of fig-leafing.
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那同時也成為了遮羞布的源起
所以故事就是這樣而來
16:20
That's where it all came about,
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來自一座教堂要拯救一幅藝術畫作
16:22
and it came about from a church
that was trying to save a work of art,
that was trying to save a work of art,
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16:26
not indeed deface or destroyed it.
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2171
而不是要去損壞或毀掉了它
布魯諾吉薩尼: 妳剛剛給我們的
不是一個傳統的
不是一個傳統的
16:28
BG: This, what you just gave us,
is not the classic tour
is not the classic tour
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今時今日一般民眾到訪
西斯汀教堂的歷程
西斯汀教堂的歷程
16:31
that people get today
when they go to the Sistine Chapel.
when they go to the Sistine Chapel.
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16:34
(Laughter)
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(笑聲)
16:36
EL: I don't know, is that an ad?
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伊麗莎白勒芙: 我不知道
這算是廣告嗎
這算是廣告嗎
16:38
(Laughter)
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(笑聲)
16:40
BG: No, no, no, not necessarily,
it is a statement.
it is a statement.
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布魯諾吉薩尼: 不，不，不，
不能說是，那是一種表達
不能說是，那是一種表達
16:43
The experience of art today
is encountering problems.
is encountering problems.
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今時的藝術體驗都碰上了問題
太多的人想到那裏去看這個
16:47
Too many people want to see this there,
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16:50
and the result is five million people
going through that tiny door
going through that tiny door
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造成了五百萬人都穿過了那小門
去體驗它 但卻是
16:53
and experiencing it
in a completely different way
in a completely different way
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和我們剛剛體驗過的 截然不同
16:55
than we just did.
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1166
伊麗莎白勒芙: 對 我同意
我覺得能夠停下來好好的欣賞 是很棒的一回事
我覺得能夠停下來好好的欣賞 是很棒的一回事
16:56
EL: Right. I agree. I think it's really
nice to be able to pause and look.
nice to be able to pause and look.
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同時也感悟到 就算是在那些日子
17:00
But also realize,
even when you're in those days,
even when you're in those days,
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每天和28,000人在一起
17:02
with 28,000 people a day,
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2012
即便和那些人在一起 的日子
17:04
even those days when you're in there
with all those other people,
with all those other people,
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環顧四週你也會覺得很神妙
17:07
look around you and think
how amazing it is
how amazing it is
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17:10
that some painted plaster
from 500 years ago
from 500 years ago
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一些五百年前塗上了畫的石膏
仍然能夠吸引到他們
和你一起並肩的站著
和你一起並肩的站著
17:13
can still draw all those people
standing side by side with you,
standing side by side with you,
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仰起頭看得入神 下顎都掉下來了
17:17
looking upwards with their jaws dropped.
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17:19
It's a great statement about how beauty
truly can speak to us all
truly can speak to us all
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那是一個偉大的証明
真善美如何能夠
真善美如何能夠
穿越時空和我們對話
17:24
through time and through geographic space.
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布魯諾吉薩尼: 謝謝
17:26
BG: Liz, grazie.
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布魯諾吉薩尼:伊麗莎白 謝謝
17:27
EL: Grazie a te.
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伊麗莎白勒芙: 謝謝您
17:29
BG: Thank you.
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17:30
(Applause)
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(掌聲)
ABOUT THE SPEAKER
Elizabeth Lev - Art historianElizabeth Lev's experience studying and teaching art has led her to believe that when we encounter something beautiful, we are made vulnerable and opened to the truth.
Why you should listen
Art historian Elizabeth Lev became captivated by Rome while completing her graduate studies. She writes and lectures on Renaissance art in the Eternal City, but is most at home in the Vatican Museums, founded in the 16th century to house the trove of art amassed by centuries of Popes. She has spent 15 years studying the vast collection, which contain not only Christian-themed works but art from virtually every other culture in the world. She consults with the Vatican Museums and wrote the film Vatican Treasures. She also wrote A Body for Glory, examining how the papal collection of Greco-Roman nudes grew into the Sistine Chapel.
Elizabeth Lev | Speaker | TED.com